Featured Post

Four Decades Along the Rainbow Road

Wednesday, November 23, 2022

Toby’s Puts the Wonderful in ‘It’s a Wonderful Life’

The musical version of It’s a Wonderful Life returns to Toby’s, The Dinner Theatre of Columbia, as its featured holiday production. With its heartwarming charm, the musical hews closely to the Frank Capra film classic starring Jimmy Stewart that has been a Christmas staple on TV for decades.

Under the direction of Toby Orenstein and her two Assistants to the Director Mark Minnick and Tina Marie DeSimone, the production brings to life the loveable and not-so loveable characters from the film—and in living color, no less. From a book and adaptation by Michael Tilford and with a sweet score and clever lyrics by David Nehls, Toby’s iteration of this classic is perfect for the holiday season (though the connection to Christmas doesn’t directly take place until the second act) and a joyful, needed escape from the times we are living in now.

Led by the stalwart efforts of the multi-talented Justin Calhoun as the central character George Bailey, the entire cast is outstanding in delivering an energetic, well-staged and expertly performed production.

The overarching theme of the story that takes place in the small town of Bedford Falls spanning the 1920s to 1940s is that life is worth living no matter how bad things may appear. Every life has value if you do good deeds that touch upon others.

To be sure, George Bailey did good deeds starting at a young age. He saved his younger brother Harry’s life from drowning. He prevented a pharmacist, Mr. Gower, from accidentally adding poison to a prescription. He reluctantly postponed plans to travel the world to take over his father’s Building and Loan business after the elder Bailey died. He kept the business open despite the hardships of the times and the pirating efforts by the town’s owner of everything else in Bedford Falls, the villain Mr. Potter.

Along the way and in the face of these challenges, George found love and married Mary. They began a family.

But things went sideways at the Building and Loan as $8,000, which was supposed to be deposited in the bank by George’s Uncle Billy, went missing. It had been found by Potter who kept it. 

Frantic and unable to find the money, the business was under a threat of being shut down as a result of a review by a bank examiner, Mr. Carter. George was facing imminent arrest for malfeasance and other charges. Predictably, Mr. Potter refused to grant him a last-ditch loan to overcome his quandary. He told George that he “is worth more dead than alive.”

Unable to wrest himself from this plight, George took out his frustration on his wife and children. In despair, he climbed on top of a bridge to jump and take his own life. His guardian angel, Clarence, under the mentorship of a winged angel, Joseph, intervened and then George said he wished he was never born.

Clarence, in pursuit of earning wings of his own, proceeded to demonstrate how things would have developed had there been no George Bailey. His brother Harry Bailey would have died from drowning rather than being a national hero in the war. Mr. Gower would have been punished for the poisoned prescription. The town would be called Pottersville as Potter would have owned everything. Nobody in the town including friends knew who George was.  Mary would not have married, and the three cute children would have never been born.  The message worked, and everything eventually played out for a happy ending.

"Toby’s iteration of this classic is perfect for the holiday season..."

Scenic designer David A. Hopkins and Properties Designer Shane Lowry crafted a simple set depicting the town of Bedford Falls with the use of streetlamps surrounding the in-the-round stage and other touches on the walls. The use of the balconies and an excellent facsimile of a bridge from which George intended to jump enhance the aesthetics. Numerous set pieces are employed, such as a bank window and desks,, and were moved on and off the stage as efficiently as Santa’s deliveries on Christmas Eve. The transformation from bar stools to grave stones with just a flick of the wrist is particularly well done.

While there isn’t an abundance of dancing throughout the show, Tina Marie DeSimone’s up-tempo choreography hits the mark. The dancers excel in such numbers as “Syncopation Rag,” “A Very Special Occasion,” and “This Round is On Me.”

Reenie Codelka led the six-piece orchestra on the night this show was reviewed (Ross Scott Rawlings takes the baton on other performances) and supported the vocalists very well without overpowering them.

Lynn Joslin’s Lighting Design and Mark Smedley’s Sound Design as well as the period costumes designed by Sarah King contributed to the realistic atmosphere of the time.

Justin Calhoun, in a tour de force, excels as the earnest and well-intentioned George Bailey. His marvelous tenor voice delights in “I’m On My Way,” “Lullaby,” and “I’m At Home” among others. Mr. Calhoun’s stellar acting skills are showcased in this demanding role. Convincingly playing a full range of emotions from bliss to anxiety, to enthusiasm, to love, to generosity, to frustration, to anger, to despair, to triumph, Mr. Calhoun is superb. Watching his performance alone is worth the price of admission. Bravo Justin Calhoun!

Robert Biedermann channels his inner Lionel Barrymore as the wheel chaired-bound Scrooge-like villain, Mr. Potter. Mr. Biedermann effectively portrays the gruff, miserly, mean and joyless tycoon to the hilt without going over the top, which would have been easy to do. A few in the audience did boo him (hopefully good-naturedly) at curtain call to signify how effective Mr. Biedermann performed.

For comic relief, one can always count on Toby’s resident cut-up David James. He plays the part of Clarence, George’s guardian angel in his quest to earn wings, with mischief and precise comedic timing. As his mentor Joseph, DeCarlo Raspberry is more than up to the task in the role of keeping not only Clarence in check but also Mr. James. Neither is an easy task.

This duo offers the teachable moments in the story and binds the events effectively. Sadly, we don’t get the chance to enjoy Mr. Raspberry’s amazing singing voice in this show, but Mr. James does a fine job in the spirited “Ya Gotta Have Wings.”

Lovely MaryKate Brouillet plays Mary, George’s wife with tenderness. She rides the rollercoaster of George’s journey of emotions and conveys her devotion to him and her children. As she has demonstrated in other Toby’s productions, Ms. Brouillet commands a beautiful singing voice. “My Wish is You” and “Mary’s Sequence” stand out. Her vocals shine in a duet with Mr. Calhoun in ‘I’m at Home.”

Other notable members of the cast include Adrienne Athanas, David Bosley Reynolds, Tina Marie DeSimone, AJ Whittenberger, Jeffrey Shankle, Shawn Kettering, Heather Beck, Santina Maiolatesi, Adam Grabau, Jane C. Boyle, Gerald Jordan, Jordan Stocksdale, Lydia Gifford, Andrew Horn and Susan Thornton.

The Bailey children are being portrayed by Jana Sharbaugh, Lucas Rahaim and Gwyneth Porter on this night with Ava and Mia LaManna and Jackson Page during other performances.

On a personal note, it was heartwarming to see Jane C. Boyle, Tina Marie DeSimone and AJ Whittenberger return to the Toby’s stage. They may have been gone for a while for various reasons but their talent did not subside at all. They are terrific.

Adding to a long list of triumphant shows at Toby’s is It’s a Wonderful Life. A very talented cast and crew under excellent direction makes this a pleasant experience with a much-needed happy ending to enjoy during the holiday season. And bring your appetite to partake in Toby’s scrumptious show-themed dinner buffet.

Running time. Approximately 3 hours with an intermission. The show begins 15 minutes earlier than usual.

It’s a Wonderful Life runs through January 15, 2023 at Toby’s Dinner Theatre, 5900 Symphony Woods Road, Columbia, MD 21044.  Tickets may be purchased by calling the Box Office 410-730-8311 or visiting tobysdinnertheatre.com as well as Ticketmaster.

Photos: Jeri Tidwell Photography


Not everybody can be fortunate enough to have a guardian angel help them navigate through the trials and tribulations of life. And this is especially significant during the holidays when many feel lonely and detached.  The lessons taught in It’s a Wonderful Life are valuable in reminding audiences that all lives have value no matter how bad things seem to be. To call the Suicide Prevention Crisis Hotline, dial 988.

Friday, November 18, 2022

Who’s the Next GOP's Bogeywoman?

When Speaker Nancy Pelosi announced she is stepping down from the Democratic leadership position, the response by the vapid, classless, near brain-dead Republican leader, soon to be Speaker, Kevin McCarthy, was predictable. “We have fired Nancy Pelosi,” he declared triumphantly as he made it personal. Such statesmanship! Such grace!

That’s who he is. That’s what the Republican Party is.

Republicans as a matter of policy have had a long history of being anti-women from health care to raising the minimum wage to childcare to abortion rights and everything in between. The “grab ‘em by the p***y” former president offered the anti-woman crowd hope. Right wing media with the likes of Tucker Carlson and the late Rush Limbaugh have pushed the misogyny along.

Over the past few decades, the Republican Party bludgeoned Hillary Clinton with their misinformation and disinformation. The campaign against Ms. Clinton had been relentless and began in earnest before she was the First Lady.

Conspiracy theories sprung up like April dandelions. There was absolutely no stopping these baseless onslaughts. But thanks to social media, people believed she was running a pedophilia ring out of a D.C. pizza joint and other nutty stuff.

When Ms. Clinton ran for president in 2016 the GOP had laid such a foundation of negativity that it was almost impossible to overcome, even as she was pitted against a dimwit, narcissistic TV personality and lying conman. Her missing emails became the equivalent of a nuclear attack. 

Her role as Secretary of State under President Obama in the Benghazi debacle was investigated over and over again with nothing substantive to report. And who could forget Trump’s never ending moniker "Crooked Hillary "?

The Republicans also attacked Nancy Pelosi ruthlessly over the years. As is in the case of Ms. Clinton, the GOP couldn’t bear the fact the country had a strong, intelligent woman as a leader. This treatment emboldened the Speaker. She stood up to Trump on numerous occasions and embarrassed the former president with her antics at meetings and at the State of the Union Address.

So vitriolic the Republican Party has been towards, Ms. Pelosi, she was hunted down by the members of the violent mob Trump incited on January 6. “Oh Nancy. Nancy? Where are you, Nancy.”

And last month a nutcase broke into her home in San Francisco looking for her to kidnap and perhaps break her kneecaps and wound up banging her husband with a hammer.

A champion of women and children’s issues, Speaker Pelosi fought for legislation in an attempt to level the playing field for women. She constantly held her caucus together—no small accomplishment given the disparate ideological wings of the party. And the thing that provides her with a great deal of satisfaction has been the progress in seating a more diverse Congress.

“When I came to the Congress in 1987, there were 12 Democratic women.  Now, there are over 90.  And we want more!,” she said during her floor speech on November 17 where she announced her future plans.

Yes, the Republicans have pummeled the likes of Hillary Clinton and Nancy Pelosi for electoral reasons. But make no mistake, the main motivation is fundraising. The GOP has probably raised billions over the years off of these two strong women by a base that is not onboard with strong women leading the country.

Now with Hillary Clinton out of the limelight for the most part and Nancy Pelosi serving out her term as a member of Congress and not the leader, who will be the next Republican bogeywoman?

Republicans have been going after Gretchen Whitmer,  AOC and other members of the "Squad."

Now all eyes will soon turn to Vice President Kamala Harris. She has already taken shots by the Republicans since her term, but will they intensify? It could be at their peril because attacking the first ever African American and female vice president in the manner they attacked these other powerful women may not be received well by suburban women, young people and independents among other groups.

It will happen though. It’s who they are.

Wednesday, November 16, 2022

Compelling ‘Tina’ Electrifies the Hippodrome

Adding to its growing list of solid jukebox/bio musicals, Baltimore’s Hippodrome Theatre is presenting Tina: The Tina Turner Musical as part of the show’s 30-city North America tour. This mounting could not have been better if it tried. With spectacular staging and lighting, wonderful toe-tapping songs, a brilliantly acted gritty storyline, and an abundance of musical talent on display, Tina delivers one of the best all-around jukebox musicals in memory.

Directed by Phyllida Lloyd with a book by Katori Hall, Frank Ketelaar, and Kees Prins, the musical takes the audience on a journey in the life of Anna-Mae Bullock (whose name eventually changed to Tina Turner) from a youngster in Nutbush, Tennessee to the summit of an internationally revered musical career. Her story chronicles one of the most amazing comebacks in music history in becoming “The Queen of Rock ‘n Roll.”

Tina’s journey is riveting. As much as the musical showcases Tina Turner’s catalogue of big-time hits that earned her 12 Grammy Awards and her twice induction into the Rock and Roll Hall of Fame, what she had to endure along the way is captivating.

Many of the dramatic episodes involve her tumultuous, sometimes violent relationship with Ike Turner, who launched Tina’s career and gave her the stage name she continued to use. Ike was a short-tempered, controlling, abusive womanizer who slapped Tina during their frequent arguments. She maintained that she loved him but was forced to run away from him after yet another violent fight and his striking one of Tina’s two children.

Tina also had to confront blatant racism and ageism not only in the 60’s and 70’s South but also in dealing with record label moguls. Moreover, her mother, Zelma, whom Tina believed was never supportive of her, adds to the struggle.  Even without any music in this show, the compelling drama alone would make for good theatre.

But there is music, and lots of it. The audience will be familiar with Tina Turner’s hits performed in the show though not presented in chronological order of their release. Such favorites like “River Deep—Mountain High,” “Private Dancer,” “Proud Mary,” “What’s Love Got to Do With It,” “We Don’t Need Another Hero,” and “(Simply) The Best” are among the 24 musical numbers in the show.

"...Tina delivers one of the best all-around jukebox musicals in memory."

Because of the drama woven throughout, the songs performed do not constitute a concert. Nonetheless, a two-song mini-concert with all the spectacular lighting and other concert effects takes place following the curtain call, so wait for that.

The entire production is an electrifying spectacle. With brilliant hue-rich lighting by Bruno Poet and projections by Jeff Sugg, the scenes change not just smoothly, not just seamlessly, but instantly—in a blink—lending to the rapid pacing of the show. Nevin Steinberg’s superb sound design and Music Director Anne Shuttlesworth and the orchestra support the vocalists exceptionally without overpowering them.  Credit Set and Costume Designer Mark Thompson for his contributions to the show’s aesthetics.

During this run, the lead role of Tina is split between Zurin Villanueva and Naomi Rodger in alternate performances. On the night this performance was reviewed, Zurin Villanueva was the lead.

In a tour-de-force, it’s not enough to say that Ms. Villanueva has a magnificent singing voice with enormous range and power. She can also dance, and she can act. In fact, her acting skills grab your attention as much as her vocals.

This versatile performer is extremely convincing as a woman who had to suffer through the abuse of Ike reflected by frequent shouting matches embedded in their arguments. Tina’s frayed relationship with her mother and the dynamics with her managers during her career are nuanced and conveyed well. All of this while belting out songs to near perfection, and she performs in just about all of them.

Her most touching moment was near the end of the first act when Tina escaped from Ike after another violent episode and was reduced to literally beg a motel clerk to let her spend the night. She only had 36 cents in her possession but promised to pay him back. Her heartrending number “I Don’t Wanna Fight No More” describes her plight.

Garrett Turner is convincing as the gruff, manipulative and violent villain Ike Turner. Mr. Turner (no relation) delivers a strong, commanding performance and contributes to the high drama. So effective is he in the role that at curtain call he received a smattering of boos from the audience. His deep baritone is on display in the solo “Rocket 88/Matchbox” and with Ms. Villanueva in the iconic “Proud Mary.”

Roz White delivers a mighty performance as Tina’s mother Zelma. Having been abused by her own husband, Zelma has been tough on Tina throughout her life. She even attempted to get Tina and Ike to reconcile prior to her death but to no avail. Ms. White is excellent in the role and performs well in a duet with Ms. Villanueva in the reprise of “Don’t Turn Around.”

Young Ayvah Johnson is a standout and an audience favorite in portraying Young Anna-Mae. Her excellent vocals are on display in the group number “Nutbush City Limits.”

Other notable cast members include Lael Van Keuren as Rhonda, Tina’s first manager; Taylor Blackman as Raymond, Tina’s second manager, Jacob Roberts-Miller (for this performance) as Roger Davies as another manager; Andre Hinds as Craig, Tina’s son; Parris Lewis as Alline, Tina’s sister; Antonio Beverly as Ronnie, another son of Tina; Geoffrey Kidwell as Phil Spector and other roles; and Ann Nesby as Tina’s grandmother, Gran Geogeanna. The remainder of the talented, high-energy cast and Ensemble contribute to the high quality of the production.

Tina: The Tina Turner Musical is a sterling production that showcases magnificent talent and songs and also brings to light in an honest manner some of the nagging sores of our society. This is a musical that should not be missed.

Running time. Two hours and 40 minutes with an intermission.

Advisory. The show contains scenes of domestic violence and profanity including the use of the N-word and is not recommended for children under 14.

Tina: The Tina Turner Musical runs through November 20 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.

Images: MurphyMade

Sunday, November 13, 2022

Groundbreaking ‘Beauty and the Beast’ Graces Olney Theatre

Evan Ruggiero as the Beast and Jade Jones as Belle

Over the past few years, the Olney Theatre Center has been mounting productions that have transcended conventional theatrical boundaries in its goal to “drive social change, better humanity, inspire joy, and bring communities together.” Some of these efforts involve a particular theme of the production, some involve casting decisions, and others simply try out something new.

In staging Disney’s Beauty and the Beast in 2021, the artistic team decided to go outside the box and cast as the lead a self-described queer, plus-sized Black woman, Jade Jones, who plays the role of Belle, “the most beautiful girl in town.”

Olney Theatre made a conscious effort to expand the stereotypical notions of beauty onstage in this casting choice, and it worked marvelously. In addition, Olney cast Evan Ruggiero, an acclaimed tap dancer and actor who lost a leg to cancer as a teenager, to play the role of the Beast. Demonstrating that his condition was not an impediment to his performance, Mr. Ruggiero also succeeded.

Unfortunately, the production had to be cut short in 2021 because of a surge in a Covid variant. Determined to build on the success of the original production, Olney Theatre has brought back Disney’s Beauty and the Beast to the Main Stage to run through the holidays with most of the cast including these superb leads returning.

Under the meticulous direction of Marcia Milgrom Dodge, the snappy choreography of Josh Walden and the musical direction of Walter “Bobby” McCoy, the show excels on many fronts. Besides the talented leads and ensemble, the glorious set designed by Narelle Sissons, the extraordinary period costumes by Ivania Stack, the wigs designed by Ali Pohanka, the exceptional lighting by Colin L. Bills and the crisp sound by Matt Rowe, Beauty and the Beast is far more beauty than beast.

"[Jade Jones as Belle] is, in fact, perfect for the role."

Let me emphasize that Jade Jones as Belle is indeed beautiful. There is no concern, nor should there be that because they doesn’t look like Belle in the animated film or in previous iterations of the stage production, that they is not perfect for the role. Blessed with extraordinary vocal talent and acting abilities, any stereotypes about beauty vanish by their performance. Jade Jones is, in fact, perfect for the role.

Likewise, Mr. Ruggiero as the Beast, who continued to pursue dancing as a career even after the amputation, effectively moves about the stage peg leg and all and is an inspiration. He also possesses a muscular baritone voice that is a joy to hear.   

The musical, which opened on Broadway in 1994 and was based on the 1991 animated feature film with the same name, became the 10th  longest ever running musical on Broadway. It features the Oscar-winning score with music by Alan Menken and lyrics by Howard Ashman, with additional songs composed by Alan Menken and lyrics by Tim Rice. The book is written by Linda Woolverton.

Show-stopping well-choreographed production numbers, such as “Be Our Guest,” “Gaston,” and “Human Again” that

showcase the singing and dancing talents of the ensemble are audience pleasers to be sure.  Yet, it is the fairy tale itself that sweeps you away on an emotional and romantic journey.  

The story of a spoiled prince who had been transformed by an enchantress into a boorish, hot-tempered beast until he can find love and return to his human form before petals fall off from an eternal rose given by the enchantress and a beautiful woman Belle from a provincial town is tender and endearing. This relationship has the audience rooting hard for both.  Also pushing enthusiastically for the couple to fall in love are various servants in the prince’s castle who were converted into household objects when the spell was cast on the prince.  They, too, have a stake in the spell being removed.

Simultaneously, the town’s egomaniacal, narcissistic, preening bully, Gaston, rejected by Belle to be his wife, strives to make her change her mind. 

Simply put, Jade Jones as Belle, shines throughout.  Considered “weird” by the townsfolk because of her passion for books, Belle is strong-minded, and her eventual attraction to the beast that requires his becoming more gentlemanly for starters is tearful in its sweetness.   Ms. Jones’ Broadway-caliber vocal prowess is evidenced in the ballads “Belle,” “Home” and “A Change in Me.”

For his part, Evan Ruggiero as the Beast is superb.  He is called upon to be mean and demanding only to soften his demeanor as he becomes emotionally closer to Belle. His on-stage transformation back to being human displaying his handsome countenance at the show’s end with the ingenious use of lighting techniques is spectacular.  Mr. Ruggiero’s powerful voice is evident in “How Long Must This Go On?” and “If I Can’t Love Her.” As mentioned earlier, he overcomes his physical challenges flawlessly.

Michael Burrell romps through his role as the superior, perfect-looking God’s gift to the world, Gaston.  His character, though an antagonist, provides much of the comic relief throughout because of his over-the-top self-centeredness with the amusing and energetic help from John Sygar as Lefou, Gaston’s goofy, ever-fawning sidekick.  Mr. Burrell’s commanding baritone in the heavily misogynistic “Me,” “Gaston” and “The Mob Song” is on display.

As noted earlier, the Beast’s staff had been turned into such objects as a teapot (Mrs. Potts played by Kelli Blackwell).  Her rendition of the beautiful title song was performed sweetly. 

Other characters in this group include Cogsworth, the clock (Dylan Arredondo); Babette, the feather duster (Haley Rebecca Ibberson); Lumiere, the candelabra (Bobby Smith); operatic Madame de la Grande Bouche, the wardrobe (Tracy Lynn Olivera); and Chip, the cup (Arianna Caldwell).  All performed well in their mostly comic roles as foils to the Beast.

Also, turning in a solid performance is Sasha Olinick as Maurice, Belle’s inventor-father thought to be crazy by Gaston and the town folk.

The remaining members of the talented and energetic cast include Connor James Reilly, Selena Clyne-Galindo, Erica Leigh Hansen, Miya Hamashige, Megan Tatum, Jessica Bennett, Ariel Messeca, David Singleton, Tyler M. White, Michael Wood and Felicia Curry.

The set, which is comprised of a facsimile of a castle’s great hall with a staircase and balcony, is essentially the only scenery used. Movements of the stairs and dropdown lighting fixtures as well as lighting changes, moveable set pieces and props signal shifts in locale, such as the town and woods.  Additionally, there is a clever round depiction of a rose that tracks the falling of the pedals on the rear wall.

Hundreds of costume pieces are employed including colorful 18th century gowns, dresses with hoopskirts, as well as attire for wolves and the beast himself.  Creative devices are used to outfit the enchanted objects—clock, tea pot, candelabra, etc.  There are great challenges in designing such costumes but Ivania Stack succeeds spectacularly, which fortifies the aesthetics of the show.

This production proves why the musical has received such worldwide popularity. No matter our age, we can all enjoy a good fairy tale with a happy ending to brighten our lives.  Bring the kids, too; they’ll love it.

The desire on the part of the Olney Theatre to make the theatre experience inclusive, shatter stereotypes, and open doors to all talented people regardless of how they look, who they love, where they’re from, and the nature of their physical abilities is laudable and appreciated.  They should be applauded along with the performers and creative and technical teams.

Running time. Two hours and 20 minutes with an intermission.

Disney’s Beauty and the Beast runs through January 1, 2023, at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting here.

Photos by Teresa Castracane Photography

Saturday, November 12, 2022

GOP: Don’t Blame Trump, Blame Yourselves

The votes haven’t all been counted yet so that which party will control the House of Representatives remains unclear.  The Senate is officially blue, however. What is known is that the nearly unanimous expected “red wave” did not materialize. In fact, the only red seen is the color of the faces of those embarrassed pundits, right wing media, and other Republican cheerleaders who confidently predicted otherwise.

Instead of the “bloodbath” that Donnie Dipshit, Jr. declared on Twitter on election night, the Dems will likely hold the Senate and perhaps increase their position by an extra seat pending the outcome of the Georgia runoff on December 6. They have a steep climb to retain their majority in the House but the Democrats are still mathematically in it. Even if they don’t quite get there, the GOP will be in control but with the slightest of margins, which will give them political migraines for at least two years. Donald Trump, Jr.’s tweet did not age well.

But Junior was not alone. No Republican (or Democrat for that matter) predicted this shocker.  To be clear, the polls leading up to Election Day (now Week) indicated that inflation and the economy was the number one issue and that would, as well as historical precedent, gerrymandering and the unpopularity of the president, be a burden on the party in power.

It didn’t.

Rather, the Republican controlled Supreme Court’s decision in the Dobbs case that essentially overturned Roe v. Wade angered women and young people. Democrats also realized how our democracy was on the ballot as hundreds of election deniers and conspiracy nuts were running for offices at all levels.

They voted in great numbers their fury at the SCOTUS ruling and in the need to protect democracy. Republicans incorrectly assumed that Dobbs was sufficiently distanced in the rear-view mirror, as well as the horrors of January 6 and that the energy would fade. The predicted red wave would wash over the country; just a lot of embarrassment and finger pointing resulted instead.

Then there was the Trump effect. The former president was not on the ballot, but he might as well have been. He encouraged potential candidates at all levels who were mini-Trumps and who bended their knees to him to run in primaries. To be sure, these weren’t the best candidates the Republican Party could have recruited, e.g., Herschel Walker. Cringing at this roster, party leaders crossed their fingers that the red wave would be too strong, and that inflation would trump the inexperience, incompetence and extremism that the mini-Trumps possessed.

Most lost their elections, not just in Congress but gubernatorial races, state legislatures and secretaries of state candidates were defeated. There were some victories, of course, but not enough to propel a red wave.

So, with eggs on their faces, the humbled and humiliated Republican establishment has finally begun to recognize that Donald Trump is an albatross. After all, he has been linked to Congressional losses in 2018, lost the presidential race and Senate in 2020 and now may have contributed to thwarting the red wave.

With Governor Ron DeSantis’ crushing victory in Florida, he instantly became the new darling of the party in some quarters. Seeing a replacement for Trump as the leader of the party on the horizon, some Republicans and right-wing media, such as FOX News, the Wall Street Journal and the New York Post have cast the loser label on Trump and are edging away from him. They are blaming him for the failure to capitalize on rising prices and an unpopular president.

Certainly, much of the blame should be leveled at Trump. He chose, endorsed and appeared at rallies on behalf of loyalists to him rather than qualified, competent candidates. Mehmet Oz’s defeat to John Fetterman in Pennsylvania that swung a former Republican seat into the Dem column was the singular most crushing example. Herschel Walker will be next come December.

However, the Republicans have themselves to blame for allowing Trump to go unfettered around the country choosing these people. Even Mitch McConnell, the Senate Minority Leader, cringed at the lack of “candidate quality”. 

It started during the 2016 primaries when Trump made frequent racist and misogynous comments. He degraded John McCain and a Gold Star family, made fun of a disabled reporter and proceeded from there while president to the disgusting remarks surrounding Charlottesville where both sides including Nazis and KKK members contained “very fine people.”

Then there was the deadly violent insurrection in which Trump summoned and incited a mob to prevent the constitutionally mandated certification of votes at the Capitol on January 6.  Additionally, he participated in a fake elector scheme and in effect, tried to launch a coup.

After initial outrage by some Republicans to these events, they tried to whitewash them and hope that time would pass and that the insurrectionists were to be seen as tourists having a bad hair day. Heck, they wouldn’t even go along with a bipartisan commission to investigate the insurrection.

Thus, they let Trump with his 74 million votes he garnered to run the party. At the second impeachment trial that focused on Trump, Mitch McConnell could have easily whipped votes to convict Trump (he put the blame squarely on Trump during a post-impeachment speech) so that he would be automatically disqualified to run for federal office again. He wimped out.

Image: cartoonmovement.com
Now, the new dilemma for Republicans is Trump’s impending announcement to run again for president in 2024. They don’t want him to make such a declaration at least until the December 6 runoff. But Trump needs to act fast because he knows, as well as many legal observers, that indictments will be handed down in short order. He wants the cover of being a candidate to claim the indictments are partisan. It appears that’s his only defense.

The Republicans’ empowering him because of their fear of his base and allowing Trump to run loose to hand pick his sycophants in these midterm elections is the price one pays. It’s like allowing an unrestrained dog to roam your house only to find that he chewed on the furniture. Do you blame the dog or yourself for providing him the opportunity to do what dogs do?

It’s on you, Republicans, not Trump.


I was in the minority, but back in May, I wrote a piece describing why the doom of the Democrats may be avoided in these midterms. You can read it here.

Thursday, October 13, 2022

‘Hamilton’ Makes its Shot at the Hippodrome

I wish that American History was taught back in the day in the manner it is presented in the highly acclaimed musical Hamilton.  The show, which is gracing Baltimore’s majestic Hippodrome Theatre as part of a national tour, presents an inventive, moving, uber-entertaining and informative story of the country’s Founding Fathers. It centers on the life and death of Alexander Hamilton spanning the American Revolution era and beyond over a period of 30 years.

While historians may quibble about the accuracy of some of the events and interactions as depicted in the musical (and the admitted taking of some dramatic license in conveying the story), it’s pretty darn close. You should simply relax and soak it all up during what must be described as a spectacular production and an exhilarating theatrical experience.

Written and composed by Lin-Manuel Miranda (In the Heights), who also starred in the show on Broadway, the 2015 musical captured 11 Tony Awards out of a record 16 nominations at the 70th Tony Awards presentation in 2016 including Best Musical as well as numerous other accolades including a Grammy Award for Best Musical Theater Album. And for good measure, it won a Pulitzer Prize for Best Drama.

Miranda was inspired by the story on the Pulitzer-winning biography Alexander Hamilton by Ron Chernow.  The success of the show on Broadway and elsewhere as well as on tour is utterly breathtaking, and for the longest time, a ticket to Hamilton was like finding gold. But here it is, in Charm City. And yes, tickets are currently available for weeknight performances, so there is gold to be had.

Hamilton’s style and music blend contemporary with the historical in a complex and layered musical arrangement. There is little dialogue outside of the songs. As such, Miranda’s music is presented with mostly hip-hop songs with conventional ballads mixed in and performed superbly by a cast that is comprised of largely people of color. A little campiness and some comedic lines are thrown in along the way. These elements are aimed at appealing to a younger generation.

Virtually all the songs are top rate.  They narrate the story and adroitly capture the emotions of the principals. Songs like “Wait for It,” “My Shot,” “The Room Where It Happens,” “The Story of Tonight,” “Dear Theodosia,” “Non-Stop,” "Washington on Your Side,” “One Last Time,” and the incredible “Satisfied” are among my favorites, but you can’t go wrong with any number.

Conductor Emmanuel Schvartzman and the orchestra are excellent in executing Miranda's score without overwhelming the vocalists so that all lyrics are clearly heard. This is significant because the lyrics relate much of the story.

Thomas Kail’s meticulous direction and Andy Blankenbuehler’s stunning and varied choreography keep the show moving like a whirlwind no matter the scene. Clad in exquisite period garb designed by Paul Tazewell, the talented company puts on a performance for the ages.

Campy King George
The musical breathes vibrancy into the colorful lives of the Founding Fathers.  As one would expect, Alexander Hamilton (played exceptionally by Pierre Jean Gonzalez) is the central figure. The show depicts Hamilton’s journey from being an immigrant orphan to anti-slavery advocate, to war hero, to George Washington’s right-hand man, to Secretary of the Treasury, to political influencer until he was not. Fueled by ambition and motivated by his legacy, Hamilton navigates his life that experienced triumphs and tragedies along the journey.

His relationship with his chief nemesis Aaron Burr was, as one could say, complicated. Played superbly by Jared Dixon, Burr was at times Hamilton’s friend, but through envy and jealousy, most other times, he was his rival. The intensity of the rivalry increases, and it led to the famous tragic duel at show’s end.

Hamilton found love and married Eliza Schuyler, one of the three daughters of the wealthy Phillip Schuyler in the production.

Throughout, Hamilton engages with other Founding Fathers Washington, Adams, Jefferson, Madison as well as Marquis de Lafayette, and for comic relief, King George with varying degrees of collegiality. These interactions and developments led to events that helped shape our country from the outset.

As Hamilton, Pierre Jean Gonzalez performs with blazing energy and passion. He raps most of his numbers, which bring to life the complexities of Hamilton’s emotions and personality.  Mr. Gonzalez is involved in the majority of the show’s songs with others in the cast and effectively channels his inner Lin-Manuel Miranda.

Jared Dixon as Aaron Burr is also a standout. Possessing a stellar voice, Mr. Dixon excels in “Wait for It,” “The Room Where it Happens” and “Guns and Ships” among several others. Commanding the stage, he proficiently conveys the up and down relationship with Hamilton.

On the night this show as reviewed, Jisel Soleil Ayon wonderfully played the devoted wife of Hamilton, Eliza. In an emotional role, she had to contend with her husband’s marital infidelity and time spent away from her to carry on his work. On top of that, she faced the death of her son in a duel. Her excellent vocals came to the fore in songs like “The Schuyler Sisters,” “Helpless,” “That Would Be Enough,” and the rare solo in the show “Burn” whereby she movingly copes with her husband’s betrayal and calls him out on his flaws.

"The musical breathes vibrancy into the colorful lives of the Founding Fathers."

Angelcia Schuyler, Eliza’s sister, is played Ta’Rea Campbell. A smart woman who envisions women’s liberation, she rapped that she isn’t concerned about the American Revolution; she wants a moment of revelation. Angelica also fell in love with Hamilton along with her younger sister, Eliza, but selflessly yielded to her so they could be married.  This is manifested in one of the show’s best songs, “Satisfied,” where Ms. Campbell’s proficiency in rap is outstanding.

Marcus Choi does an excellent job as George Washington. He exemplifies Washington’s commanding demeanor and possess an outstanding singing voice. He excels in “Non-Stop,”  “Cabinet Battle #1,” “Cabinet Battle #2,” and “One Last Time.”

In the role of Thomas Jefferson, Warren Egypt Franklin (he also plays Marquis de Lafayette) adds a little camp and cool to the show with his swagger. He opens the second act with “Wha’d I Miss,” a playful song and performs well in such numbers as “Washington on Your Side” and “The Election of 1800.”

Other notable performances include Desmond Sean Ellington as James Madison and Hercules Mulligan and Neil Haskell who plays the comic relief character, the glittery King George. Mr. Haskell excels in the solos “What Comes Next?” where he taunts the Founding Fathers and “I Know Him.”

The remainder of the cast and ensemble perform at a high level and exhibit outstanding moves in the precise and polished choreography.

Tony-nominated Scenic Designer David Korins designed an aesthetically attractive and functional set and the only set in the show. The dark bronze-colored scenery combined with Howell Binkley’s superb lighting design casts a brownish hue that is reminiscent of sepia toned photographs from over a century ago giving it an old-time feel. I don’t know if that was the goal, but that’s how I perceive it.

There is a frequently used turntable arrangement downstage, framed by scaffolding and a second-level catwalk. The multi-level set provides depth, changing the eye level of the action effectively.  The spinning turntable allows the musical to swirl and maintain the rapid-fire action as the performers stand still yet in motion.

Hamilton is one of the gold standards in musicals. It contains all the ingredients for an amazing evening of pure entertainment while you can brush up on your history, too. A talented cast and Miranda’s unique storytelling employing contemporary music and styles make Hamilton a standout.

The thunderous ovation received from the audience at show’s end does no justice to the word “thunder.” As stated previously, seats are currently available for weeknight performances though it will cost more than the $10 bill that Hamilton adorns. Take your shot; it’s worth it.

Running time. Two hours and 45 minutes with an intermission.

Hamilton runs through October 30 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.

Photos by Philip Tour

Sunday, September 25, 2022

Long on Delusion, Short on Grandeur

The scales of justice have been recently tipping against former president Donald Trump. A civil suit by New York State Attorney General Letitia James to the tune of $250 million against his business practices is the latest legal hurdle Trump, his family and business must deal with. Even worse, his financial reputation and brand are on the line, which to Trump is more of a threat than any criminal probe.

Those potential criminal actions include investigations of his handling of classified information, his efforts to overturn his election loss in 2020 (cases in D.C. and Fulton County, Ga.), and his role in the insurrection of Jan. 6, 2021.  For good measure there will be the final scheduled hearing from the next January 6 Select Committee, which I think will be a doozey that the evidence presented may eventualy lead to a criminal referral.

All of these investigations and lawsuits will move slowly as attempts to stonewall and delay will be the primary legal strategy on the part of Trump and his fluid legal team. While full accountability and justice may not take place for several years, if at all—a pace which is guaranteed to frustrate the anti-Trump crowd—the investigations will hover over Trump, his Republican congressional sycophants and his cultists like a gray, damp fog for the foreseeable future.

What has been predictable is that Trump, his lawyers and his supporters believe that these investigations and lawsuits are politically motivated witch hunts orchestrated by Democrats that are based on fear of losing the presidential election of 2024 to the most powerful Republican.

That’s total nonsense. Democrats didn’t incite the insurrection on January 6, nor did they try to use fake electors to change the outcomes in states in 2020.  Nor did any Democrat ask a state official to "find" additional votes. And no Democrat removed classified documents and left them around unsecured at a country club, whose purpose is open to speculation. Trump’s actions triggered the investigations, not Democrats.

Courtesy of Mediastouch (Instagram)
Keep in mind that Trump has yet to declare his candidacy. I personally believe he ultimately will not run, but he will try to stay in the game to lure more bucks from his gullible base. You know, legal fees can be uber-expensive; someone has to pay them, and it won’t be Trump. Count on it.

To be sure, Trump lost in 2020 and there is little reason to expect him to garner more votes the next time. Yes, inflation may still be high and wrongly blamed on Biden, but Trump and the GOP have yet to offer a specific plan to address it other than bromides and fantasies.

The baggage from the ongoing criminal and civil probes and litigation will haunt the former guy and make for an abundance of fodder for his opponent to exploit. The vengeful actions of House Republicans, should they win back the House, will nauseate a large swath of the population and doom any Republican presidential candidate. Trump and the investigations even if not yet brought to a resolution will cost him with independent voters and suburban women with whom he had trouble winning over in 2020.

To say these investigations were launched strictly to prevent Trump from winning in ’24 is delusional and political spin. He will not be formidable if he runs, and he will be extremely lucky if he is not indicted by that point.

Wednesday, September 21, 2022

A Gentle Journey of Love and Goodness

In the early hours of September 16, 2022, my dear mother-in-law Mary Ford finally let go. Five years ago, Mary was diagnosed with metastatic cancer and the diagnosis was grim. Because she was in her 80’s surgery was considered too risky, and chemotherapy was unlikely to be effective.

Undaunted, Mary agreed to ovarian surgery where the cancer originated. Then she began a multi-year process of chemotherapy to fight the dreaded disease. During this time, Mary never complained as she tolerated the treatments, and remained upbeat as her faith and love of her family sustained her. Over the five years of battles and increasing immobility, she courageously fought until nature eventually won out.

She had been battle-tested in her life, and maybe that pushed her to never give up and fight on the best
she could. She married her husband Robert, Sr. in Sioux City Iowa—her birthplace—at a young age while he served in the Air Force. Originally, Robert was from the Canton neighborhood of Baltimore, and not long after the birth of her first child, Robert, Jr. who eventually became my husband, the new family moved back to Canton. The family grew.

Her husband suffered from health issues stemming from a rare blood disease and died prematurely at the age of 42 in 1978 leaving Mary to raise her six children (five boys and a girl). Then tragedy struck again later that year when the second born, William (Billy), was killed in a pedestrian accident at the age of 20.

These unspeakable, horrific events shook the family to its core. Mary, with her inner strength and guided by her Catholic faith, persevered and kept the family together through all the ups and downs that ensued.

I first met Mary in 1980 a couple of months after I began dating Bob. We were both in the closet and had no thirst for coming out to his family. Initially, I was introduced as Bob’s “roommate,” a ruse that was unlikely to be sustainable. Eventually, I wanted us to come out but understood that Mary, being a devout Catholic, and Bob's siblings with a conservative bent, in my view, may not be receptive. You know, you have to be able to read the room. So, nothing was ever said publicly about our relationship.

But it wasn’t really necessary as they figured it out, and apparently, they were all fine with it. Some time ago, there was a visit to D.C. by Mary’s niece Kathy and other family members from Iowa. I had asked her if Mary and her children knew the story about Bob and me. She replied without any hesitation, “They know. They ALL know!”

I was surprised to hear that but at the same time relieved that the “conversation” didn’t have to take place.  But most importantly, it never mattered. All along, I had been invited to all family functions, gatherings, holidays, weddings and dinners as if I were one of their own. I had been taken in by Mary and her children as well as the extended family, and Bob and I couldn’t have been happier about the situation.  Her children and grandchildren have been most supportive of us, which I will forever be appreciative. And Mary led the way.

Mary was my mother-in-law even before Bob and I legally married in 2009. We did a lot together and shared so many fond memories. We enjoyed going out to restaurants and had her over for cookouts. She admired looking at the flowers in our yard until deer and rabbits destroyed them.

With her Iowa roots, Mary loved country-style items and atmosphere, so we visited craft shows from Baltimore to West Virginia. Family-style restaurants like Friendly Farms in Upperco, Md. suited her fine, and she enjoyed the Apple Festival in Pennsylvania. I will never forget how Mary had a wonderful time seeing the musical Annie at the Mechanic Theatre.

As Bob had become increasingly involved in antique bottle collecting, Mary, too, developed an interest in the hobby. She attended a meeting of the Baltimore Antique Bottle Club when I was president at the time, and she, with her sons Brian and Michael as well as her granddaughter Kristen attended a few of our shows in Essex, Md. that the club produced. She even joined us on a bus trip to Bethlehem, Pa. to attend a bottle show there.

For her 80th birthday, the family came in from Iowa to New Jersey to Baltimore to take Mary on a ride on a train from the B&O Museum. I forgot whose idea this was, but it was a stroke of genius; she loved trains because her father worked on the railroad. As the ride proceeded, Bob and I led the family in a rendition of “I’ve Been Working on the Railroad” from which her smile was a wide as the tracks.

I’ve said this to folks attending Mary’s viewing, and it is very true. How many people can say they have known someone for over 40 years and never once had an argument or spat? I cannot recall ever having such a moment with her. Mary never cussed, was always a lady, and treated people with kindness and love. I continually tried to make her laugh and she expected it.  Her laughter and smile were infectious. In short, she was a gentle, loving soul with a wonderful sense of humor.

She particularly loved her children and their spouses and partner, six grandchildren and six great grandchildren. They provided her with the strength and resolve to live despite her deteriorating health.

The last time I had seen Mary was a couple of weeks ago at her house. She was very weak and in considerable discomfort as she laid on her bed on the ground floor. Upon departing I blew her a kiss from the door. To my amazement, she slightly rose and blew the kiss back.  That gesture will always be etched in my memory.

Mary was laid to rest on September 20, the day she would have turned 87. Indeed, the circle of life.

Her obituary is shown here

Wednesday, July 13, 2022

‘Mean Girls’ Brings Plastic to Life at the Hippodrome

"I have one word: plastics." That was a memorable line from the 1967 megahit film The Graduate where an older man offered investment advice to the young Dustin Hoffman character Benjamin. 

Now plastics is prominently featured in the musical (and film) Mean Girls, currently playing at Baltimore’s Hippodrome Theatre through July 17 as part of a national tour.

The Plastics is the name attached to a three-girl clique of high schoolers that the central character Cady is invited in.  She is there to not only spy on the group as directed by her new friend Janis who has vengeance on her mind towards the queen bee, Regina, but also to boost her social status and desirability. As one of the lead characters Damian aptly put it, The Plastics are called that because “they are shiny, fake and hard.”  How that relationship works out for all concerned forms the crux of the story.

In what could only be described as nothing less than a dazzling spectacle, the production of Mean Girls, based on the 2004 film of the same name, entertains on all fronts. There is a talented cast and orchestra to deliver the music by Jeff Richmond, the clever lyrics by Nell Benjamin, and a book by Tina Fey of TV fame who also wrote the film and happens to be married to Richmond.

Conveyed in a contemporary universe where social media can make or break someone, the plot is punchy and at times, preachy. But it is melded into a hilarious tale focusing on teenagers’ social angst and its related mission to attain popularity seemingly at all costs.

Richmond’s and Benjamin’s music, while not spectacular, works well in bringing the story along with several songs that are notable and spread throughout the cast so that all the leads have a turn. The lyrics feature a decent degree of wit but Fey’s droll and biting dialogue carries the day.

What the audience will (or should) remember fondly from this production is the spectacular staging under the direction of Tony nominee Casey Nicholaw (Aladdin, The Book of Mormon, The Prom, Something Rotten! as well as the Broadway production of Mean Girls) who also choreographed the show, which earned 12 Tony Award nominations. 

With the talents of scenic designer Scott Pask, lighting design by Kenneth Posner and video design by Finn Ross and Adam Young, the stage is bathed in brilliant colors using digital projections to effect seamless and rapid transitions from one scene to another.

Aided by set pieces that the performers smoothly roll onto the stage and in place with precision, the projections allow the scenes to change from a high school corridor to a multitude of classrooms, a lavatory, cafeteria, gym, a bedroom, a shopping mall and other locales, literally in a blink of an eye. This is an extraordinary technical achievement and is worth the price of admission to experience it.

Cady Heron (played by English Berhardt) has moved to the Chicago suburb from Kenya where her biologist parents home-schooled her. Naïve Cady realizes that she was not even noticed let alone accepted by the kids at North Shore High School until Janis Sarkisian (Lindsey Heather Pearce) and Damian Hubbard (Eric Huffman) befriend her. In the cafeteria they point out to Cady the school’s eclectic cliques—jocks, nerds, sex maniacs, freaks among others—and then ultimately describe The Plastics—Regina George (Nadina Hassan), the leader; Gretchen Wieners (Jasmine Rogers), the second in command; and Karen Smith (Morgan Ashley Bryant), not the brightest star in the universe.

"...nothing less than a dazzling spectacle..."

Janis had an unpleasant history with Regina, and as a means to revenge, she encouraged Cady to accept The Plastics’ invitation to sit with them for a week in the cafeteria in order to spy on them and feed Janis with information she can use against her.

As the members of The Plastics reveal their own individual personalities and character, Cady using cattiness and mean tricks maneuvered to eventually oust Regina as the number one Plastic and emerge as a popular force in the school.

Along the way, she became smitten with a talented and good-looking math student Aaron Samuels (Adante Carter) who liked the more innocent version of Cady as opposed to what she eventually became.

Cady's friendship with Janis became a casualty as well, as Cady progressed up the social ladder.

On brand with their meanness, The Plastics had compiled a “burn book” whereby photos of classmates were pasted in with nasty and mean comments included. The revelation of this book provides the turning point in the plot and the road to redemption and forgiveness was eventually paved at the school's Spring Fling.

As Cady, English Bernhardt is convincing as the once naïve student who rose to the top of the social ladder and ultimately recognizing that hurting people was not the proper means to reach that goal. She is an exceptional math student and had resisted until the end to be part of the Mathletes math team. She had been warned by The Plastics that if she joined such a group, she would experience “social suicide.” Her mezzo-soprano vocals shine in such numbers as “Stupid with Love,” “Apex Predator” and “More is Better” and in her solo “Fearless.”

Lindsey Heather Pearce as Janis possesses fine acting skills in portraying her complex character. Janis’ relationship with Regina was once friendly until the latter spread rumors that Janice was a lesbian forcing her to drop out of school at one point. Recognizing the ills of The Plastics, she tried to steer Cady away from the group’s influence.

Ms. Pearce has an amazingly powerful voice, which is evident in several numbers including “Apex Predator,” “Revenge Party” and the superb “I’d Rather Be Me.”

Nadina Hassan is adept in portraying The Plastics’ leader Regina George. Wealthy with a “cool mom” (Mary Beth Donahoe on the night this performance was reviewed), Regina’s cruelty and meanness is evident throughout and an unlikely and near fatal encounter with a school bus (very well done by the technical crew) altered her outlook for the better.  As she engaged in reconciliation with Cady, Regina pointed out that she was “dead” for 15 seconds and offered her spoiler alert that heaven was a large hotel in Miami. I think the name of each touring city should be inserted as applicable rather than Miami at each stop. Audiences love local flavor.

 Ms. Hassan sang well in “Someone Gets Hurt” and “World Burn.”

Jasmine Rodgers played the insecure second-in-command Gretchen as a member of The Plastics. She delved into the world secrets and divulged Regina’s secrets to help deal with her insecurity.  Ms. Rogers showcased her lovely voice in one of the few solos in the show, the moving “What’s Wrong with Me?”

In a comedic role, adorable Morgan Ashley Bryant performs exceptionally as the third member of The Plastics, Karen Smith. Essentially vapid and dumb, Karen is loveable and easily manipulated. Ms. Bryant handles the comedic role with impeccable timing and displays her fine vocals in “Sexy.”

My favorite character of all is Damian, and not just because “he is too gay to function” as he was
dubbed. Played brilliantly by Eric Huffman, Damian is the only character in the show who seems totally comfortable in his own skin and doesn’t need to pretend to be anybody else. This is both refreshing and surprising that an openly gay high school student is not the target of bullies and seems so together.

Mr. Huffman is blessed to have the lion's share of the funny quips and carries the comedic role to perfection. He is also a splendid vocalist "Where Do You Belong?" "Revenge Party" and dancer in the rousing opening production number of the second act "Stop" displaying his tap dancing chops. 

Other notable performers include the aforementioned Mary Beth Donohoe and Adante Carter, Kabir Berry and Iain Young as well as a terrific ensemble.

This fast-paced production of Mean Girls featuring an extremely talented cast, exceptional choreography and singing performances and an eye-pleasing, mind-boggling set, makes this a must-see experience. The ultimate message of being kind to one another hits the mark as well.

 Running time. Two hours and 30 minutes with an intermission.

Mean Girls runs through July 17 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit Ticketmaster or the Baltimore Hippodrome.

 Photos: Jenny Anderson

Monday, July 11, 2022

Don't Trade Trey Mancini

Well, lookie here! The Baltimore Orioles, baseball’s perennial doormats for the past five years, find themselves in the midst of a Wild Card chase. As of July 13, the team is carrying a 10-game winning streak—the longest such success since Bill Clinton was president—into St. Petersburg to face the Ray's prior to the All-Star break.  

They are now one game over .500 following a string of seasons whereby they lost well over 100 games each.

While the fan base in Baltimore is experiencing a renewed sense of joy, the enthusiasm has been tempered by the rumors that their stalwart leader, Trey Mancini, may be on the block at the trading deadline come early August. He’s a free agent after this year, and the Orioles, still reeling from the devastating Chris Davis contract extension under previous management, has been loath to sign players long term at a steep price.

The O’s current management spearheaded by GM Mike Elias needs to put the notion of trading Mancini deep in their back pocket and find other ways to strengthen the franchise.

Mancini is a true leader in the clubhouse and revered by his teammates like no other. At age 30 and the longest tenured Oriole, younger Birds flock to him for advice and mentorship. A loss could disrupt the strong chemistry the team is enjoying for the first time in quite a while.

More importantly, trading Mancini would deal a major blow to the fan base, which has finally seen a light at the end of the tunnel with their beloved team. He is arguably the most popular Oriole and for good reason.

In 2020 Mancini announced he was diagnosed with Stage 3 colon cancer and accordingly missed that Covid-truncated season following surgery and six months of chemotherapy treatments.

He returned to the Orioles’ lineup in 2021 and was a big run producer. He appeared in the All Star Game’s Homerun Derby, though not named to the all-star team, and fought his way to battle the incomparable Mets slugger Pete Alonso in the final round only to come in second.

I would have preferred to see Mancini take the mic at the All Star game the next night at Denver’s Coors Field to introduce MLB’s traditional Stand Up to Cancer moment.

“Good evening. I am Trey Mancini of the Baltimore Orioles, and I fought cancer and I won.” How inspirational would that have been! It would have been a moment for the ages, drenched in emotion, but alas, it did not happen.

Appropriately, Mancini captured the American League Comeback Player of the Year Award in 2021 and is performing at a high level in 2022 leading the team in batting average.

Attendance at Orioles games has been below par to say the least over these past few years. They seem to draw only when articles of clothing are given out, such as floppy hats and Hawaiian shirts. I do believe that attendance will increase markedly should the team continue their strong play and compete for a playoff spot.   

Trading Trey Mancini will not further that end—in the clubhouse, on the field and in the stands. Let’s see what happens after the season. Perhaps, Mancini will sign with the O’s at a hometown discount. Maybe not. But let’s not destroy the renewed good vibes from yesteryear and allow the season play out.

Don’t trade Mancini.

NOTE: This post is has been updated to reflect the Orioles' winning streak, which stands at 10.